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Doctor Turn wrote:I'm sure Les Pauls and SG's (and Explorers and V's) aren't going anywhere.. even if Slash and Bonamassa have to team up to buy that division and shrink the co down to its roots. But I'm sure that business isn't going anywhere. Sanity simply needs to be brought to the acquisitions dept and the pricing setup on the "good" Gibsons.

Also agreed. Someone will come in and float the company to keep things alive.

Furthermore, I misread where you typed "sanity," and thought you'd typed "Satan," which is probably what is being removed (in the physical form of Henry) from the business currently. The king is dead. Long live the king.

Yep. When you think your product--a traditional, utterly proletarian electric guitar (I don't care what kind of burst mythology is created)--is better than the common masses, and should therefore be made unaffordable to all but wealthy management types who squandered all of their practicing time to college and over time at work to climb the corporate ladder... when you've done that you've betrayed the very nature of the breed of dropout rock and roll that mythologized that specific guitar in the first place... Richards, Ace Frehley, Clapton, T Rex, Kossoff, Green, Page, and so many others who chased the r & r dream. Granted it's rarely been a poor man's guitar either.. but you shouldn't have to pay custom shop prices to get the equivalent of the everyday Gibson of yore.

On sale on verb, it's a custom shop recreation of the mid 60's DN's. The price is completely absurd (eight grand USED), but something about this thing appeals to me. I like that the 12 string headstock is almost as long as the neck.

Tuning nightmare to even have proper access to (it better have fine ratio tuners), and the size of the headstock, plus the string tension (unless it has a volute) means it'll probably break like a piece of balsa while attempting to tune. Cool-looking guitar, but the functionality is compromised (and I do like SGs in general).

UnexplodedCow wrote:Tuning nightmare to even have proper access to (it better have fine ratio tuners), and the size of the headstock, plus the string tension (unless it has a volute) means it'll probably break like a piece of balsa while attempting to tune. Cool-looking guitar, but the functionality is compromised (and I do like SGs in general).

Hehe... And just think, there are 3 G strings that just won't stay in tune!

UnexplodedCow wrote:Tuning nightmare to even have proper access to (it better have fine ratio tuners), and the size of the headstock, plus the string tension (unless it has a volute) means it'll probably break like a piece of balsa while attempting to tune. Cool-looking guitar, but the functionality is compromised (and I do like SGs in general).

Hehe... And just think, there are 3 G strings that just won't stay in tune!

I never looked that closely at the double-neck headstocks. The physical act of tuning on this long one seems like it could be a little easier. The other version is a shorter headstock, where the tuners are bunched up closer together, which seems like it would be trickier to grab and turn, with the other headstock right near it with different spacing.

That's what I was just about to write, having time for the first time to respond to all of the comments.

These are some incredibly bizarre posts, unless these are just commentaries in general regarding twelves overall. The tuning hell that everyone is mentioning is just endemic to twelve strings, there's no way around it--there's nothing specific to this guitar that makes it particularly bad. In fact, as spud just mentioned, the headstock is somewhat oversized making it a lot more forgiving and breezy versus a typical twelve where tuning is a bit more cramped. For example, from a roughly similar vintage span, look at the density of the tuners of a Carvin:a gas-inducing Guild Starfire:a Hagstrom Viking:

Fender is a little more liberal, but it has that embarassing resemblance to an unexcited hubby looking to claim a headache... or just a Frenchman in a beret lol:

then look at the Gibson. You will see that the Gibson is actually the essential opposite of the claims above.. it's a great 12 headstock with lots of room to get in there and freely adjust without confusion or clutter.

It's of course a CS recreation of Page's DN used for Stairway live/etc, John Mclaughlin:

I was just reproducing it because I dig the unique color. Never thought the rafters would vibrate over such a well known piece!

Aside from being a terrible color scheme, and a terrible burst pattern (which is just one man's opinion, others may enjoy it) why would you let this paint job out of the factory... It's not even CLOSE to symmetrical...

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Always hated these since they were introduced. They're going on a year old now.

I think what's making it look even worse is the fact that the flame figure on the right hand side plank is much busier, so it makes it look like it was bursted far more uneven with the dark colors than it really was.

Aside from the bottom part having no burst colors, I hate how the top part has a perimeter burst of like a dark wine color... Yet to basic overall scheme is a teardrop that's been cut off.

Totally agreed on that. I may be in danger of being an old fuddy duddy, but at the same time there are some guitars that are considered classic "bullseye" designs for a reason (and there aren't a ton of them)--and while I understand that Gibson play with this and tinker with that on Les Pauls to try and stimulate new interest, some of this is just desperation fiddling in search of a new audience. DOn't like the burst and I don't like buckers without bezels.

Looking at that guitar, if they'd just completed the red color (non-burst) I think it'd look half decent, even without the bezels. The weird screw holes they have on the back, however, are still disgusting to me.

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